Two other engravers belong to this intermediate period, although not French in origin,—Georg Friedrich Schmidt, born at Berlin, 1712, and Johann Georg Wille, born near the small town of Königsberg, in the Grand Duchy of Hesse-Darmstadt, 1717, but, attracted to Paris, they became the greatest engravers of the time. Their work is French, and they are the natural development of that classical school.
Schmidt was the son of a poor weaver, and lost six precious years as a soldier in the artillery at Berlin. Owing to the smallness of his size he was at length dismissed, when he surrendered to a natural talent for engraving. Arriving at Strasburg, on his way to Paris, he fell in with Wille, who joined him in his journey, and eventually in his studies. The productions of Schmidt show ability, originality, and variety, rather than taste. His numerous portraits are excellent, being free and life-like, while the accessories of embroidery and drapery are rendered with effect. As an etcher he ranks next after Rembrandt. Of his portraits executed with the graver, that of the Empress Elizabeth of Russia is usually called the most important, perhaps on account of the imperial theme,—and next, those of Count Rasoumowsky, Count Esterhazy, and Mounsey, Court Physician, which he engraved while in St. Petersburg, whither he was called by the Empress, founding there the Academy of Engraving. But his real masterpieces are unquestionably Pierre Mignard and La Tour, French painters, the latter represented laughing.
Wille lived to old age, not dying till 1808. During this long life he was active in the art to which he inclined naturally. His mastery of the graver was perfect, lending itself especially to the representation of satin and metal, although less happy with flesh. His Satin Gown, or L’Instruction Paternelle, after Terburg, and Les Musiciens Ambulants, after Dietrich, are always admired. Nothing of the kind in engraving is finer. His style was adapted to pictures of the Dutch school, and to portraits with rich surroundings. Of the latter the principal are Comte de Saint-Florentin, Marquis Poisson de Marigny, Jean de Boullongne, and Cardinal de Tencin.
Especially eminent was Wille as a teacher. Under his influence the art assumed new life, so that he became father of the modern school. His scholars spread everywhere, and among them are acknowledged masters. He was teacher of Bervic, whose portrait of Louis the Sixteenth in his coronation robes is of a high order, himself teacher of the Italian Toschi, who, after an eminent career, died as late as 1858; also teacher of P. A. Tardieu, himself teacher of the brilliant Desnoyers, whose portrait of the Emperor Napoleon in his coronation robes is the fit complement to that of Louis the Sixteenth; also teacher of the German, J. G. von Müller, himself father and teacher of J. F. W. von Müller, engraver of the Sistine Madonna, in a plate whose great fame is not above its merit; also teacher of the Italian Vangelisti, himself teacher of the unsurpassed Longhi, in whose school were Anderloni and Jesi. Thus not only by his works, but by his famous scholars, did the humble gunsmith gain sway in Art.
Among portraits of this school deserving especial mention is that of King Jerome of Westphalia, brother of Napoleon, by the two Müllers above named, where the genius of the artists is most conspicuous, although the subject contributes little. As in the case of the Palace of the Sun, described by Ovid, “materiam superabat opus.”[165] This work is a beautiful example of skill in representation of fur and lace, not yielding even to Drevet.
Longhi was a universal master, and his portraits are only part of his work. That of Washington, which is rare, is evidently founded on Stuart’s painting, but after a design of his own, which is now in the possession of the Swiss Consul at Venice. The artist particularizes the hair, as being modelled after the French master Masson.[166] The portraits of Michel Angelo and Dandolo, the venerable Doge of Venice, are admired; so also is the Napoleon as King of Italy, with the iron crown and finest lace. But his chief portrait is that of Eugène Beauharnais, Viceroy of Italy, full length, remarkable for the plume in the cap, which is finished with surpassing skill.
Contemporary with Longhi was another Italian engraver of widely extended fame, who was not the product of the French school,—Raffaello Morghen, born at Portici in 1761. His works have enjoyed a popularity beyond those of other masters, partly from the interest of their subjects, and partly from their soft and captivating style, although they do not possess the graceful power of Nanteuil and Edelinck, and are without variety. He was scholar and son-in-law of Volpato, of Rome, himself scholar of Wagner, of Venice, whose homely round faces were not high models in Art. The Aurora of Guido and the Last Supper of Leonardo da Vinci stand high in engraving, especially the latter, which occupied Morghen three years. Of his two hundred and fifty-four works no less than eighty-five are portraits, among which are the Italian poets,—Dante, Petrarc, Ariosto, Tasso, also Boccaccio,—and a head called Raphael, but supposed to be that of Bindo Altoviti, the great painter’s friend,[167] and especially the Duke of Moncada on horseback, after Van Dyck, which has received warm praise. But none of his portraits is calculated to give greater pleasure than that of Leonardo da Vinci, which may vie in beauty even with the famous Pomponne. Here is the beauty of years and of serene intelligence. Looking at that tranquil countenance, it is easy to imagine the large and various capacities which made him not only painter, but sculptor, architect, musician, poet, discoverer, philosopher, even predecessor of Galileo and Bacon. Such a character deserves the immortality of Art. Happily, an old Venetian engraving, reproduced in our day,[168] enables us to see this same countenance at an earlier period of life with sparkle in the eye.
Raffaello Morghen left no scholars who have followed him in portraits; but his own works are still regarded, and a monument in Santa Croce, the Westminster Abbey of Florence, places him among the mighty dead of Italy.